Rockin’ Jason D. Williams: “Hillbillies And Holy Rollers” (2014) CD Review

Hillbillies And Holy Rollers, the new CD from Rockin’ Jason D. Williams, is full of great old-time rock and roll and rockabilly, with a focus, obviously, on piano. Word is Rockin’ Jason D. Williams is likely the biological song of Jerry Lee Lewis. I believe it. Just listen to him play and sing on tracks like “Fingernails,” “Honky Tonk Hardwood Floor” and “Mean Woman Blues.” Hell, even if they aren’t related by blood, the same music is running through their veins. They are coming fundamentally from the same place, a place that rocks and swings and is glorious. By the way, “Honky Tonk Hardwood Floor” features some great work on bass by Geoff Firebaugh, and a bit of a yodel at the end.

Hillbillies And Holy Rollers opens with the title track, an original tune written by Jason D. Williams and Dale Watson, a song which features some great stuff by Jason D. Williams on piano. There’s a wonderful moment in the instrumental section where there’s a transition from him on lead to a guitar lead, and as the guitar takes over, Jason plays a little something more on keys. It’s brief, and you might miss it, but it’s a delightful touch that just adds to an already-fun tune. There is an acknowledgement of the old feel of this music in the lyrics: “The more things change, the more they feel the same/The way we did it in ’55 is how it’s done today.” This song also has direct mentions of Johnny Cash and Jerry Lee Lewis, as well as a nod to “Amazing Grace” at the end. All in all, it’s a very cool way to kick off the album.

Williams follows it with “This Is Rock & Roll,” another original tune, this one co-written with Mike Harber. It’s about hearing rock and roll on the radio while growing up, and is an homage to Jerry Lee Lewis, both in the style and also in the lyrics. The piano playing is certainly influenced heavily by Lewis, as is, to a lesser extent, the vocal approach. The song mentions “Whole Lotta Shakin’” (and also “All Shook Up”).  I particularly enjoy the instrumental section at the end. It’s a lot of fun.

Jason D. Williams offers an interesting rendition of “Folsom Prison,” with a much different feel from Johnny Cash’s original. This is less country, more rockabilly, with a steady danceable rhythm. And I love the way he holds onto “blues” on the line “When I hear the lonesome whistle blow my blues away.”

Williams then turns “You Win Again” into a kind of a sweet and easy duet with Sarah Gayle Meech, and even includes a string arrangement by Chris Carmichael. Jason sings, “But I trusted you,” and Sarah says, “And now who’s the fool?” At one point when he sings, “You win again,” she responds, “Yeah, I win again,” and there is some sarcasm in her voice, which is great. To hear the other perspective and see how no one really wins. This is a truly interesting take on a familiar song. (Just a side note: Jerry Lee Lewis has also covered “You Win Again.”)

Johnny D. Williams also does a fun version of “Sweet Georgia Brown.” This track features nice work by Matt Arnn on drums, including a brief solo, and also a cool lead on bass by Geoff Firebaugh. But of course it’s the piano that drives this cool rendition, with that wonderful ragtime vibe.

“House Of Blue Lights” is one of my favorite tracks, particularly because of the great work on bass. And there is some delicious vocal play as well. This one is just a delight through and through, with a cool jazzy vibe. It was written by Don Raye and Freddie Slack. This version mentions Elvis Presley and Johnny Cash.

"Old Time Religion" begins with a bit of “Swing Low, Sweet Chariot,” then kicks in, with a wonderful gospel bent to the vocals, particularly the backing vocals. This is a traditional gospel tune, but with some additions to the lyrics, turning it to a song about rock and roll, with lines about The Who and The Rolling Stones ("If it's good enough for The Who, Rolling Stones too"). Listen to this track, then put on Holly Golightly And The Brokeoffs’ “A Whole Lot More…” (from Sunday Run Me Over). This version ends with a return to “Swing Low, Sweet Chariot.”

Hillbillies And Holy Rollers ends with a cool rockabilly version of “I’ll Fly Away” that still retains some of that gospel feel. This is a song I’ve always loved. And this rendition has a lot of energy. It ends with just piano and vocals, and so Jason jokes, "Where did everybody go?"

CD Track List

1. Hillbillies And Holy Rollers
2. This Is Rock & Roll
3. Folsom Prison
4. You Win Again
5. Fingernails
6. Honky Tonk Hardwood Floor
7. Sweet Georgia Brown
8. Mean Woman Blues
9. House Of Blue Lights
10. Old Time Religion
11. I’ll Fly Away 

Musicians

Jason D. Williams performs lead vocals and plays piano. Joining him are Geoff Firebaugh on bass and backing vocals, Ronnie Crutcher on guitar and backing vocals, Sleepy LaBeef on guitar and backing vocals, Matt Arnn on drums and backing vocals, Sarah Gayle Meech on vocals and backing vocals, and Dale Watson on backing vocals (Watson also produced the album).

Hillbillies And Holy Rollers was released on June 10, 2014.

Michael-Ann: “Heavy Load” (2014) CD Review

Michael-Ann’s debut full-length CD, Heavy Load, is a wonderful combination of country, bluegrass and folk, with mostly original tunes, really good vocals and some excellent work from the other musicians. There is also a lot of great energy in these tracks, particularly in a song like “Never Mind.”

Heavy Load opens with “Any Day.” The fiddle gets this song off to a fun start. It’s a good country song, taking ordinary troubles (“I’m short on rent”), and giving them a positive feel through the very act of singing them out.  “Waiting for my true love/But he never seems to come/All my friends keep on telling me/Everything will be all right/Well, I’ve waited too long/Cannot wait much more.” Michael-Ann’s vocal approach has energy and an edge, which is great. She comes across as kind of a tough person who can hold her own.

She sounds more vulnerable on the following track, “Heavy Load,” the album’s title track. It has a mellower, sweeter vibe. “It seems to me I’m in need of healing.” The song then gains in energy when the drums come in, and her vocals respond, like she’s taking control of her own healing. The music will do it for her, and for us too. The “na-na na-na” section has such a happy feel to it that it’s all but guaranteed to raise your spirits. Susan Sheller and Calico The Band provide backing vocals on this track.

“Mama’s Sleepin’” begins with a great bit of bluesy guitar, which comes as a surprise. And Michael-Ann’s vocals sound fantastic over that guitar. The song then kicks in, and it’s a bit of folk, a bit of country, a bit of blues. Yeah, it’s kind of a glorious combination. I am completely in love with Michael-Ann’s vocals on this track, and this song also features some nice work by Dennis Caplinger on banjo. This is one of my personal favorite tracks.

“Hard To Breathe” is one of those wonderful mellow, sad country tunes. The first line is “I will get over you.” When someone starts off by saying that, you know there’s a good chance he or she won’t be able to. Are you exorcising that particular demon by singing about him, or are you focusing even more on him? It’s always a risk. She asks, “Why can’t true love last forever?” The song ends where it began, with that promise to herself, “I will get over you.”

“I Would” is so pretty, a song of love and devotion that rings true. Her vocals are absolutely beautiful here. And I love the way her vocals blend with those of Amilia K Spicer, who provides backing vocals on this track. This track also features Evan Smalley on cello, an instrument that I always appreciate. This is probably my favorite track. “I would give you back all that is lost/I’d count the cost just for you/I would piece together your dreams.”

“Troubles To The Wind” is another of this CD’s highlights, with an interesting, darker vibe. There is some wonderful work on banjo, particularly in the instrumental section. It's followed by the album’s sole cover, a seriously pretty rendition of “Bring It On Home,” a tune written by Eric Nelson. Michael-Ann's vocals really shine on this track. And I like the use of accordion during the instrumental section (that's Phil Parlapiano).

Heavy Load concludes with "What Don't Kill Ya," a good country rock tune with a wonderful rhythm. This is one of those songs to get you up off your seat and on the dance floor. It turns into a good jam at the end.

CD Track List

1. Any Day
2. Heavy Load
3. Mama’s Sleepin’
4. Hard To Breathe
5. Never Mind
6. Bumble Bee
7. Trail Of My Tears
8. I Would
9. Heaven
10. Troubles To The Wind
11. Bring It On Home
12. What Don’t Kill Ya

Musicians

Michael-Ann performs the lead vocals and plays acoustic guitar. Joining her on this release are Randy Ray Mitchell on acoustic guitar, electric guitar, resonator, slide, tambourine and backing vocals; Mark Christian on electric guitar and banjo; Dennis Caplinger on fiddle, banjo, mandolin and resonator; Dave Pearlman on pedal steel; Phil Parlapiano on accordion, keyboard, organ; Aubrey Richmond on fiddle; Gabriel Witcher on fiddle; Evan Smalley on cello; Taras Prodaniuk on bass; Vic Koler on upright bass; Erik Eldenius on drums; David Goodstein on drums; Susan Sheller on backing vocals; and Amilia K. Spicer on backing vocals.

Heavy Load is scheduled to be released on CD on August 19, 2014. It is available now digitally.

Holland Greco Record Release Party at Andaz Hotel, 6-17-14

Holland Greco performing "100 Proof"

Holland Greco held her record release party (and yes, I mean record) for Volume One on the roof of the Andaz Hotel in West Hollywood tonight. It was a fantastic show, full of great grooves and a joy that was palpable. Rooftop concerts are certainly the way to go, whenever possible.

When I arrived, there were between a hundred and two hundred girls on the sidewalk outside the hotel, and for just a second I thought they were in line for the show. But apparently a boy band is staying at the hotel and the girls are hoping to catch a glimpse of them. Several of us gathering on the roof were surprised that this sort of thing still happens.

I got there early enough to catch the end of the soundcheck. I could hear Holland when I stopped off the elevator at the floor marked “PH,” and was immediately happy. Her voice has that effect on me, and has for well over a decade now. I first saw her back in the days of The Peak Show (some of my fondest memories, and some of the best nights of music I’ve ever experienced), and have kept up with everything she had done since. She has never steered me wrong. The band was doing “Only Up From Here” in their soundcheck, and they sounded great. Plus, the view was wonderful, and it put me in a perfect, relaxed frame of mind. This hotel is on Sunset Blvd., across the street from the House of Blues. The view off stage left is most of Los Angeles; the view off stage right is the Hollywood hills. So here we are.

There is a swimming pool on the roof, limiting the dance space and making certain spots rather dangerous for dancing. I grabbed the chair closest to the stage, and began getting acquainted with some other good folks. That’s another thing about Holland Greco. She really attracts good people to her shows. I’ve met some wonderful people at these gigs.  Fellow Peak Show members Derock Goodwin, Alex Painter and Megan Jacobs were there tonight to show their support.

Holland Greco and her band (including a horn section!) took the stage at 7:40 p.m. and opened with “What Is Dark.” Holland then picked up her electric ukulele, and the band went into an old favorite, “100 Proof.” In introducing “We Could Still…,” Holland said, “This song is from the future.” She introduced the band during the beginning of “Bedford Stuyvesant,” which is one of my personal favorites.

“It’s going to get a little loud and dancy now,” Holland said before the band jumped into “Guilty Pleasure Zone.” And this was a particularly fun version of this song. Holland even kicked off her shoes toward the end of it. I really liked the stuff on keys. And then they went into “Hollywood Babylon,” one of the Misfits covers that Holland does with Murdergram. And Holland totally rocked the ukulele.

They followed that with the best version of “Batman Theme” I’ve ever heard. Seriously, it was fucking incredible. At first the horns were playing what would be the vocal line, and then the keyboards took over, and it was so much fun. And holy moly, the horns then just went totally wild. This was one of the highlights of the show for me.

The horns were also a great addition to “Stuck.” I absolutely love what they brought to that song, a song I’ve always enjoyed. And then Holland did a Frank Zappa cover, “Take Your Clothes Off When You Dance,” and it was totally fun. In addition to ukulele, Holland played kazoo on this one. Holland introduced the song by saying, “Enjoy this one, it’s a good one.” Indeed.

Holland wrapped up the set with two more old favorites – “Flashback” and “Speedway.” This was probably the best concert I’ve seen so far this year. It was a total joy to see this band, and to see them at this location. I hope they do more gigs like this one.

Set List

1. What Is Dark
2. 100 Proof
3. Only Up From Here
4. We Could Still…
5. Bedford Stuyvesant
6. Butterflies
7. Guilty Pleasure Zone
8. Hollywood Babylon
9. Batman Theme
10. Stuck
11. Take Your Clothes Off When You Dance
12. Flashback
13. Speedway 

Volume One is available on vinyl. The first side is Tunnel Vision, and the second side is the Murdergram stuff. (But word is there is also a special hidden track – I need to get my turntable fixed before I can listen to it.)

By the way, as I was leaving I talked with a couple of the girls who were still gathered outside the hotel. The band they were hoping to see is called 5 Seconds Of Summer, a band out of Australia. Just for anyone who was wondering.

Here are a few photos from the night:

"What Is Dark"

"What Is Dark"

"100 Proof"

"We Could Still..."

"Guilty Pleasure Zone"

"Guilty Pleasure Zone"

"Hollywood Babylon"

Volume One

The Evangenitals: “Moby Dick; Or, The Album” (2014) CD Review

I’ve been enjoying The Evangenitals for many years now. This is a band that’s gone through a lot of changes since I first saw them in concert. But there are a few things that remain constant. First, the core of Juli Crockett and Lisa Dee – they’ve been the heart of this band since its inception, and ensure that the music will always come from a place of pure passion. Second, Juli and Lisa Dee surround themselves with damn fine musicians. The band members may change, but they’re always seriously talented people. And third, Juli Crockett writes excellent songs.

All but one of the tracks on their newest release, Moby Dick; Or, The Album, are originals. And some of these tunes, like “The Lee Shore” and “Quee Queg,” they’ve been performing live for a long time. So the songs have had the chance to be developed, explored and really worked to perfection. This is an album that was long in the making. I think it was once they had "Ahab's Leg," their third Moby Dick-related song, that they began talking about recording this album. If memory serves, that was in 2009.

The album kicks off with “Ahab’s Leg,” a song I’ve always enjoyed seeing them perform in concert. The version here is a much slower, more thoughtful, even haunting version than what was played live when the song was introduced several years ago. It has a very different feel, but completely works. And then approximately three minutes in, the song has a strange section, featuring keyboards and male vocals, and the song then rebuilds from there, gaining a certain power. Jeremy Zuckerman plays electric guitar on this track.

“The Sermon” is an odd song with a great gospel vibe. The gospel angle is interesting, particularly in relation to the band’s name. Here Evangenital comes closest to Evangelical. Dorian Wood provides vocals on this track. Can I get an Amen?

That’s followed by “Shipwreck Blues,” which begins with whale-like sounds. This is the album’s only cover, written by Bessie Smith. The rendition by The Evangenitals is pretty, with a vocal approach that is at first delicate and gorgeous. This version has a slow methodical rhythm that has a haunting, foreboding quality. The pace then picks up toward the end. Kris Tiner plays cornet on this track.

“Turbulent Flow” is a new one to me. It has quite a different feel from what I’m used to from this band. This song is more in the pop realm, with a playful, goofy vibe that is kind of delightful. It’s almost like something The B-52s might do. “Turbulent Flow” was co-written by Juli Crockett, Michael Feldman and Joey Maramba.

With “Moby Dick,” the band goes for a wonderful old-time feel, partially like a traditional folk tune, one of those wonderful sea chanteys that tell a great story. Daniel Mark and Jim Kweskin add some wonderful work on mandolin and banjo respectively. And Danny Graziani does excellent stuff on violin. “Moby Dick” was co-written by Ron McElderry and Juli Crockett. Apparently, McElderry wrote the original version in 1960, and then Juli Crockett added to it. So in a way, this song is almost like the album's second cover.

Whenever I’ve been asked what my favorite Evangenitals song is, I’ve always responded, “The Lee Shore.” It’s an incredible song, a wonderful journey, with peaks and valleys. It’s a song you can really get immersed in, a song that can possess you if you let it. And you should let it. When the band really nails it, there is little that is better, and it has often been a highlight of their live shows. I love Andrea Baker's work on violin. Princess Frank is on drums on this version. (I love Princess Frank, particularly his work with Holland Greco.) "Breathe out...Breathe out...Breathe out."

The album concludes with "Quee Queg," a song I've loved for years. There is a sweet beauty to this song, particularly in the way Juli and Lisa Dee's vocals blend. And it's wonderful that David Hurlin plays drums on this track. He was the band's drummer when I was first really getting into their music, and though I enjoyed hearing how the different drummers tackled this song over the years, David's approach remained my favorite.

There is a hidden track at the end of the CD. It's a bit of silliness that's approximately thirty seconds long.

CD Track List

1. Ahab’s Leg
2. The Sermon
3. Shipwreck Blues
4. Turbulent Flow
5. Moby Dick
6. The Lee Shore
7. Quee Queg 

Moby Dick; Or, The Album was released on March 18, 2014.